I was intrigued by the metal base on which Feinstein's painting was mounted (below):

Phillip Hua (pictured below, foreground) was there to explain his process of "manufacturing" works that ultimately degrade over time:

His "re:action" series was well represented at the show and fit very well well with theme, given it's unique artistic process and continuing evolution after completion:

Also included were a couple small pieces that Mr. Hua was "prototyping" when we spoke last fall. Recall that in these works, the tree image becomes more visible with time as the paper fades with exposure to sunlight:

Finally, Carolyn Meyer's artistic process was displayed through an installation (below) of her studies, both in traditional journals as well as non-traditional surfaces, like Crayon boxes:

Samples of her completed paintings, marked by their impasto, were also on display (below):

Next, I went across the street to HangART, where works by David Fullarton were on display in the rear gallery:

The show, called "Once Again I Fail To Live Up To My Advance Publicity," will be up through the month of April:

In addition to some larger collage canvases, many of Fullarton's pieces used non-traditional materials.

For someone who has seen images of this series, it was great to see the life-size scale to which Ms. Harel draws her hand animals (below):

What these pictures do not capture well is the fine detail of subtle textural mutations to the subject hand's skin, which are at once anatomically correct for the implied animal and incorrect for the human model:

The show is up until May 3 in the downstairs of the gallery:

On display upstairs at Frey Norris are a couple pieces by Attiya Shaukat (below) from their March show:

Both artist feature figurative work where the figure is disconnected from its surroundings: Mr. Amory's figures are waiting, and therefore not fully present; and Ms. Chan's are starkly lacking a physical context: